[Tig] sequence of events
rob at colorist.org
Sun Jan 23 03:05:35 GMT 2011
If we were to sequence the people whose careers took off as a result of Sam Holtz's efforts, I would be able to provide the data from the Action Video years, but not from the years before that at Editel. Was not Charlie Brouyette (through Sam's influence?) involved in the early wiring of Editel? Were not Thom Ferman and others also there?
Advancing to 1983, my first year at Action, Barry Shankman (Crest National Labs) told me to call Bob Festa, then the colorist at Action, in the only telecine room there. Barry not only told me how to present myself, but also what salary range to suggest. The next step was to meet Sam and his partner Joe. I was apprised at that point that there was a third partner mostly silent, Paco Araiz, from Mexico. (Paco later generously lent me his apartment in Acapulco for a vacation.) Paco passed away in the late 80s or early 90s, but he was an occasional welcome presence at Action for his donation of a portion of the Mexican market to Action. A favorite client of mine whose name escapes me now was the post coordinator on Brandy Domecq commercials. The film often arrived as a handwound, coreless negative with extreme dirt and scratch problems, but a pronounced unease on the part of the colorist (me) was always mitigated by the ease and happiness of the client, at being reunited with Sam. By this point Bob Festa had moved on to (Encore? or was it Complete) as his expertise and client base were sought all over town.
At this point the second telecine suite, along with the second edit suite, were opened for business. The first edit suite's editor was Mike Satterfield along with Ken Assessor. The second grading suite was first filled by Rick Taylor, then Bob (last name needed) and then for a significant time, Steve Rodriguez. Supporting personnel were notable but I'd be into a dissertation-length document to list them all. Debbie Romeo, Kelly, Tracey Atwell, Nancy Hellman, were all instrumental in office capacities.
On the Edit side of the facility, a great talent was realized in Brian Robinson, in whom Sam saw talent that proved itself many times over in other facilities. Jean Lafitte edited in the second suite.
In Engineering, Sam saw in Dave Tosh a design and implementation genius who kept it all humming along in advancement.
In Paint Box and associated arts, Sam found Gerta Lind, who was as identifiable with the success of Action Video as anyone, ever.
Sam Holtz, you'll always be fondly remembered by those of us, me included, in whom you believed, and whose talents you believed in.
Colorist, Dolby Laboratories; TIG admin/founder
rob at colorist.org http://rob.colorist.org
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